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The history and traditions of a culture live in its artifacts. When youngsters craft their own simple versions of scarab stones from Egypt, Greek bread dough coins, and Peruvian silver wind chimes, they will begin to understand and appreciate the geography, lives, and cultures of people all over the globe
The first major history of the glamorous art biennial. Biennials have proliferated across the globe since the end of the Cold War and have now stabilized at about 200 a year. While this quintessentially contemporary form has significant roots in the world expositions of the 19th century, Jones argues that the biennial is also the platform for an important new aesthetic shift. Moving away from a focus on visual looking in the mid 20th century, the art world today embraces experience: art fairs give the feel of closeness and spaciousness, crowds, and they engage all our senses, even taste. Jones argues that the dominance of installation art and the simultaneous rise of biennialsor recurring art fairsneed to be examined as joint phenomenamutually reinforcing and linked to specific geo-political and aesthetic conditions. From the rise of tourism to the flows of art commerce, Jones hatches a new way to track the development of international art fairs in nearly every corner of the globe: from the early world fairs of London, Paris, Chicago, and New York to art fairs proper in Venice, Sao Paulo, Havana, Berlin, Lyon, and Beijing, as well as Kassel s Documenta, Whitney Biennial, and moreall explained through a rapidly evolving aesthetics of experience that has never, until now, been addressed in such a substantial way."
In this readable and highly original book, John J. Curley presents the first synthetic account of global art during the Cold War. Through a careful examination of artworks drawn from America, Europe, Russia and Asia, he demonstrates the inextricable nature of art and politics in this contentious period. He dismantles the usual narrative of American abstract painting versus figurative Soviet Socialist Realism to reveal a much more nuanced, contradictory and ambivalent picture of art making, in which the objects themselves, like spies, dissembled, housed and managed ideological differences.
Introduction : measuring the economy of the arts -- Museums in flux -- The exhibitionary complex -- Art and the global marketplace -- Conclusion : non-profits and artist collectives as market alternatives
This is the second publication from the ongoing research series, Global Art and the Museum (GAM), which was initiated in 2001 by German art historian Hans Belting and artist, writer and curator Peter Weibel at the ZKM Center for Art and Media in Karlsruhe, Germany. The last 20 years have seen a rapid globalization of the art world, resulting in geographic decentralization and a shift away from a primarily Western perspective. GAM's aim is to analyze the effect of these changes on the art market, museums and art criticism. This volume comprises a collection of essays by experts--such as Claude Ardouin, Keeper of the African Section of London's British Museum, Koeki Claessens, Director of Central Africa's Royal Museum and Eugene Tan, Director of the Institute of Contemporary Arts Singapore--who presented at the 2007 conference.
Global Milton and Visual Art showcases the aesthetic appropriation and reinterpretation of the works and legend of the early modern English poet and politician John Milton in diverse eras, regions, and media: book illustrations, cinema, digital reworkings, monuments, painting, sculpture, shieldry, and stained glass. It innovates an inclusive approach to Milton’s literary art, especially his masterpiece Paradise Lost, in global contemporary aesthetics via intertextual and interdisciplinary relations. The fifteen purposefully-brief chapters, 103 illustrations, and 64 supplemental web-images reflect the great richness of the topics and the diverse experiences and expertise of the contributors. Part I: Panoramas, provides overviews and key contexts; Part II: Cameos offers different perspectives of the varied afterlives of the most widely-circulating illustrations of Paradise Lost, those by Gustave Doré; Part III: Textual Close-ups focuses on a rich variety of book illustrations, from centuries-old elite engravings to a twenty-first century graphic novel; and Part IV: A Prospect beyond Books, explores visual media outside of books that manifest powerful connections, direct and indirect, with Milton’s works and legend.
A highly original, wide-ranging, and judiciously illustrated exploration of an increasingly global art scene In the past, writers and critics such as Goethe, Ruskin, and Clement Greenberg perpetuated particular ideas about art and even dictated these ideas to the artists themselves. Today, artists no longer have to follow one prevailing theory and the art world is less centralized in particular cities: New York, London, Paris, Berlin, and Beijing all offer rich environments to artists but none are designated as the exclusive center of the art world. In Global Art Compass, Alistair Hicks demonstrates his belief that no single curator, critic, or dealer should monopolize our view of what is happening in the art world today, but that by listening to the artists themselves, we can gradually make out an ever-evolving web of patterns, relationships, and themes. Organized by continent and including extracts from interviews with artists from around the world, the book offers a fresh view of the contemporary art world through artists from France, Albania, Slovakia, Russia, Mexico, Brazil, The United States, China, India, and beyond. The range of artists whose work is explored includes Laure Prouvost, Anri Sala, Roman Ondák , Gabriel Orozco, Sandra Gamarra , Cai Guo-Qiang, and Nandan Ghiya, among many others. The results of Hicks’s approach clearly show that the preoccupations of artists in the 21st century are largely universal: that ever-faster communications are balanced by a resistance to globalization; that an awareness of the unprecedented complexity of our world is equaled by a rising skepticism of the systems that impose order on our lives; and that while art is seen by many as a commodity, it also has the power to be a regenerative tool.
An essential guide to the multifaceted and increasingly connected global art community from 1900 to today. Global Art introduces some of the most significant art movements of the twentieth and early twenty-first centuries that have challenged the status quo. Featuring fifty artistic developments from every continent, this volume covers movements born of decolonization, marginalization, and conflict. Ranging from the Saqqakhaneh artists of Iran to the Stridentists of Mexico, Experimental Workshop of Japan to America’s AfriCOBRA, it chronicles groups that have empowered and given voice to their members. Packed with bold and illuminating illustrations, the book demonstrates the distinct but connected roles of global movements in creating cross-cultural dialogues in today’s art world. Journalist Jessica Lack provides historical context for each art movement, key cultural events, and interconnections, bringing to life the protagonists in each movement’s evolution.
This is the first book to explore the global influence of Maoism on modern and contemporary art. Featuring eighteen original essays written by established and emerging scholars from around the world, and illustrated with fascinating images not widely known in the west, the volume demonstrates the significance of visuality in understanding the protean nature of this powerful worldwide revolutionary movement. Contributions address regions as diverse as Singapore, Madrid, Lima and Maputo, moving beyond stereotypes and misconceptions of Mao Zedong Thought's influence on art to deliver a survey of the social and political contexts of this international phenomenon. At the same time, the book attends to the the similarities and differences between each case study. It demonstrates that the chameleonic appearances of global Maoism deserve a more prominent place in the art history of both the twentieth and twenty-first centuries.
In recent years, the term global art has become a catchphrase in contemporary art discourses. Going beyond additive notions of canon expansion, this volume encourages a differentiated inquiry into the complex aesthetic, cultural, historical, political, epistemological and socio-economic implications of both the term global art itself and the practices it subsumes. Focusing on diverse examples of art, curating, historiography and criticism, the contributions not only take into account (new) hegemonies and exclusions but also the shifting conditions of transcultural art production, circulation and reception.
